My take on the many theatre productions I go and see during the course of the year.

Sandy Pritchard-Gordon

Theatre Blog

Sunday, 4 October 2015

Farinelli And The King at The Duke of York's Theatre

It is often said that an actor is made for a particular role.Here at The
Duke of York’s, Claire van Kempen has organised just that, by creating a
part for her husband that fits him like a glove.Farinelli
And The King premiered at The Sam
Wanamaker Playhouse earlier in the year and the actor in question is, of
course, the superlative Mark Rylance.He plays the 18th century Spanish
monarch, Philippe V, a kind of European equivalent to our King George III, except
that the former’s affliction was more manic depression and deep melancholia
rather than mental illness.

The Duke of York’s, cosily situated in St Martins
Lane, is worlds away from the Globe’s candlelit indoor theatre but, thanks to Director John Dove and Designer Jonathan Fensom, the Playhouse
has been lovingly re-created, at least internally.From the wax dripping on-stage candles to the
rearrangement of the seating and stage area, the intimate atmosphere is
recaptured.

We first begin to suspect that all is not well with Phillip’s state of
mind when we see him lounging, bedecked in a brocade dressing gown, talking to
and then trying to capture with a rod and bait, a goldfish in a bowl. Whimsical?Certainly.Funny?Extremely.And, as ever with Mark Rylance,
his delivery is downplayed and hesitant as if he is struggling with what he
wants to say.In other words, what every
actor is trying to do.Make every
sentence sound as if it’s the first time it has been uttered.One of, no, actually, our best actor does it effortlessly.

But this King is not all languid capriciousness.There is a sharp tongue lurking within this
gentle soul and his wife, Isabella, is often on the receiving end.Bearing all that’s thrown at her with a quiet
dignity, this most patient of Queens eventually decides that something must be
done to snap her husband out of his abject inertia.To stop him exploiting his malady when it
suits, just because he has had to endure a role he never desired, that of King
of the realm.Her solution is music, the
therapeutic benefits of which have been known for thousands of years.To this end, she seeks out Farinelli, the
world famous castrato, persuades him to change the opera house for the court
and thus ensure that Phillipe has beautiful music “on tap”.

We are privy to the beautiful sounds that soothed the depressed King
thanks to counter-tenor Iestyn Davies,
who alternates with the actor Sam Crane
in the role of Farinelli.Whilst Sam
delivers the singer’s lines with a wonderful gravity, Iestyn delivers his music
with an ethereal delicacy.I’ve always
maintained that opera isn’t for me, but hearing some of the loveliest arias of
the 18th century performed so beautifully, I think I may have to
revise my opinion.

It’s not only Mr. Rylance and
Mr. Davies who captivate.Melody
Grove as Isabella is also superb.Her love and devotion to her mercurial husband is unmistakable and she
radiates goodness and grace without ever being cloying.

But, as ever, it is the mesmerising Mark
Rylance who is the draw in this pitch perfect production.The man is a genius and I am more than a
little in love with him; I and several hundred other women theatregoers!